| 摘要: | 旅美台裔藝術家李明維（Lee Mingwei, 1964- ）以其觀念性參與式藝術作品著稱。本文聚焦於其綜合媒材、展現人與人關係的行為互動計畫《睡寢計畫》、《晚餐計畫》、《客廳計畫》、《魚雁計畫》、《移動的花園》、《織物的回憶》、《補裳計畫》和《旅驛計畫》等八件作品，以此為核心分析對象，兼及其他創作計畫。從中梳理其多藉由對話和生活儀式中的互動方式，呈現人與人、自然、地方環境等的記憶連結，和開啟與陌生人關係的探索。
本論文第一章探討李明維參與式藝術計畫的場域機制與空間情境，著重於美術館展示機制的演變和其中「活藝術」（live art）的發展趨勢，進而分析其作品中行為互動裝置與美術館的相輔相成。接著從場域氛圍進入環境心理學中對於空間裝置的暗示，以及參與人和參與物交融之「物件史／關係史」藝術計畫的相互見證。而藉由(禮)物而帶動關係的連結，反映了人類學中禮物的美學和生活儀式的互動默契。為第二章李明維參與式藝術計畫中的物及其意涵的探討重點。第三章進到李明維參與式藝術計畫中「參與」人的主體精神，從微觀社會學和親密關係面向，申論與陌生人近距離一對一相處設定的心理意涵。本文從場域、空間、裝置、物件、互動、人到美學，同時牽連並深化相關議題理論，從參照中呈現出李明維參與式作品的特點：私密親密關係之另類社會學角度、從關係論出發的微觀社會性、主體的主體性等。並在回歸藝術史脈絡和美學理論的討論比較中，凸顯出其在觀念藝術、社會參與性藝術以及藝術與社會/生命的關係中，其藝術觀點和作品的特殊之處。
;Taiwan-born, New York and Paris–based artist Lee Mingwei（1964- ）is renowned for his conceptual participatory practice. This thesis explores how he uses mixed media interactive installation and everyday ritual events to create varying degrees of participations with strangers such as The Sleeping Project, The Dining Project, The Living Room, The Letter Writing Project, The Moving Garden, Fabric of Memory, The Mending Project and The Tourist.
The first chapter outlines the artistic currents from the era when art museums started the exhibition planning mechanism integrating the model of the live art. Moreover, the significance and function of Lee’s projects within the art museums will also be considered. The second chapter discusses the importance and the meaning of the items that participants bring to the projects. Discover the journey along time for beings and their objects. Also, the inquisition of subject/object relational histories are the center goals of his works. By investigating the concepts of micro sociology theories and the personal relationships of intimacy, the third chapter delves into the participants’ subjectivities that catalyze introspection and interconnection in Lee’s projects.
This thesis explores Lee’s best-known series of works, concentrating on the field, space, installation, objects, interaction and participants, and it sheds light on his artistic features as well as aesthetic value in the projects. Furthermore, I take a wider perspective from art historical contexts and art theories to see the life-philosophy and aesthetics of existence embedded in Lee’s projects. |
